Andrew Tyson’s Sunday afternoon piano recital at Kleinhans Music Hall featured a well-designed program where gems from the 18th and 19th century by Wolfgang Amadeus Mozart, Frederic Chopin, and Robert Schumann framed two of the “TroisPreludes” by the 20th century’s Henri Dutilleux.
The opening Allegro of Mozart’s Piano Sonata in F major (K. 332) marks its entrance by floating a melodic line over gradually revealed hints of drama. The composer gains more ground with repetition, cycling ideas by arguing them from different vantage points. When you reach the closing bars of the third and final movement, it’s as if an exhaustively vivacious friend is leaving the room. It’s a little marvel, another example of Mozartean art.
Tyson later admitted that this was his first public performance of the Mozart sonata and it is a credit to his abilities that he sounded as good as he did. The speedy passagework in the finale wasn’t glossed over or made to sound as if the composer was just writing a bit of note spinning and the adagio was handled well.